Download Global Interests: Renaissance Art Between East and West by Lisa Jardine PDF

By Lisa Jardine

Looking outward for affirmation of who they have been and what outlined them as "civilized," Europeans encountered the returning gaze of what we now name the East, specifically the eye of the robust Ottoman Empire. Global Interests explores the old interactions that arose from those encounters because it considers 3 less-examined artwork objects—portrait medals, tapestries, and equestrian art—from a clean and stimulating viewpoint. As moveable artifacts, those items are relatively powerful instruments for exploring the cultural currents flowing among the Orient and Occident.

Global Interests deals a well timed reconsideration of the advance of eu imperialism, concentrating on the Habsburg Empire of Charles V. Lisa Jardine and Jerry Brotton examine the influence this heritage maintains to have on modern perceptions of ecu tradition and ethnic identification. additionally they examine the ways that eu tradition got here to outline itself culturally and aesthetically through the century-long span of 1450 to 1550. finally, their examine deals an intensive and wide-ranging reassessment of Renaissance art.

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Additional resources for Global Interests: Renaissance Art Between East and West (Reaktion Books - Picturing History)

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He is a symbolic ‘Lorenzo de’ Medici’, heir to the burgeoning Medici commercial empire, whose train includes senior figures of his family as they appeared at the time of painting. Behind him rides a figure representing the Patriarch Joseph, side-saddle on a white mule as befits an elderly man of the Church. Behind him is the Emperor John Paleologus, astride a massive (and rather explicitly male) white stallion – a mount worthy of the Emperor of Byzantium, who also considered himself something of an expert in pedigree horses.

What we have tried to indicate is that within the context of the historical material we have been analyzing, such arguments enable us to circumvent an account of the marginalized, exoticized, dangerous East within Renaissance studies as not only politically unhelpful but also historically inaccurate.  Our exploration of portrait medals, alongside our re-readings of Spenser’s Faerie Queene, Carpaccio’s paintings of St George, Gozzoli’s Adoration of the Magi and Holbein’s Ambassadors, set out to problematize the Burckhardtian (and with it the new historicist) view of emerging Western European selfhood in the Renaissance.

In The Ambassadors, finally, as in the portrait medals and the Gozzoli frescoes, the East is neither a fantasy nor an omission.  We began with Ciriac of Ancona because his reputation also survives in a curiously fractured form, two incompatible halves that the present exploration enables us to reunite. The roving scholar of antiquity moved, in his own day, across a map without intellectual impediments or ideological boundaries. In the East, his scholarly reputation rested on the classical heritage he revived as personal advisor to Mehmet II, tailoring the Sultan’s image and actions to the imperial forebears – Alexander the Great, Constantine, Charlemagne – he hoped to emulate.

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